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Despite the flaming torches of the plebeian plotters which, in the Prologue, etched chiaroscuro omens within the Palladian porticos of Michael Yeargan’s imposing and impressive set, this was a rather slow-burn revival of Elijah Moshinsky’s 1991 production of Simon Boccanegra.

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
piece’s interest.

“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .

Vitellia, daughter of a previous emperor of Rome, who had hoped in vain to
marry the Emperor Tito (Titus), incites Sesto (Sextus) to prove his love for
her by killing Tito, despite the fact that he is a friend.

Annio (Annius), a friend of Sesto, brings him a summons from the emperor.
Vitellia makes an insulting remark about Tito's love for the Jewish Queen
Berenice, only to learn that Tito has parted from her and sent her back home.
With renewed hopes of becoming empress, she tells Sesto to defer his
assassination plans, giving him no reason, demanding that he trust her. Sesto
consents with delight when Annio asks for the hand of his sister Servilia.

Scene 2. The Roman Forum

The people acclaim Tito. He calls Sesto and Annio to him and asks Sesto
for the hand of Servilia. Both are taken aback, but Annio collects himself
sufficiently to congratulate the emperor on his choice, and is given the task
of conveying the news to Servilia.

Tito keeps Sesto at his side, remarking that the joy of rewarding friends
is the only pleasure he derives from his position. Annio laments the loss of
Servilia and when he tells her of her fate, she also grieves for their lost
happiness.

Scene 3. The imperial palace on the Palatine Hill

Publio, commander of the Praetorian guard, brings Tito a list of those who
have defamed him and his predecessors. Tito deplores the investigation which
has produced the list and forgives those named on it.

Servilia confesses to the emperor that she loves Annio, but agrees to
marry him if he still wishes. He releases her from any obligation to him,
while wishing that all around him were as frank as she. Vitellia greets
Servilia ironically as future empress and beloved of Tito, but Servilia
answers cryptically that Vitellia may still be able to marry him. Not
understanding, Vitellia rages at having first Berenice, then Servilia
prefered to her, and threatens vengeance. She stirs up Sesto again and he
promises to avenge her, but when Publio brings the news that Tito has now
chosen her as his wife, she regrets the haste with which she sent Sesto
off.

Scene 4. The square before the Capitol

Sesto, torn between love and friendship, resolves to die rather than
betray his friend, but his plot is already under way and the Capitol is
burning. Feeling that he is now committed, he enters the Capitol in search of
Tito. A crowd gathers and Sesto appears, announcing the assassination of the
emperor. Vitellia warns him not to betray himself.

Act II

Scene 1. The square before the Capitol

Sesto has learnt that he stabbed another man in mistake for Tito. He
confesses his attempted crime to Annio, declaring that he will leave Rome as
a repentant exile. But he is not yet suspected, and Annio advises that he
should continue to serve the emperor and by his fidelity atone for his
crime.

But Vitellia counsels him to leave at once, fearing not only for his life,
but for her honor as the instigator of the attempt. Sesto swears that her
secret is safe with him.

He is arrested by Publio, as the man he had stabbed had not died and had
been able to reveal the identity of his attacker. Sesto is led off to be
tried by the Senate, leaving Vitellia a prey to remorse.

Scene 2. A great hall

The people rejoice in the safety of Tito and he expresses his gratitude
for their devotion. He asks Publio about the progress of the proceedings
against Sesto, trying to find excuses for his friend, but Publio can give him
no comfort.

Annio begs for mercy for Sesto, but is interrupted by Publio, bringing
news of the condemnation of Sesto, who is to be thrown to the beasts in the
arena. He hands Tito the death warrant to sign, but the emperor, torn between
justice and mercy, decides to hear Sesto before signing. He offers Sesto the
chance to exculpate himself, but his lips are sealed by his promise to
Vitellia and he says that he deserves and desires death.

Servilia and Annio beg Vitellia, as their future empress, to intercede for
Sesto, reproving her when she seems to hesitate. Vitellia is moved to
admiration by the steadfastness of Sesto, examines her conscience and
resolves to confess, even though it will cost her the throne she has sought
and may even mean her death.

Scene 3. The Amphitheatre

The people have gathered for the games in which Sesto is to die. Vitellia
confesses, explaining that she had misconstrued Tito's customary affability
into expressions of affection and felt spurned when he seemed to choose
others instead of her. In the face of so much treachery, Tito decides to be
magnanimous, to forgive and forget.